Three related works: Quando Stanno Morendo, Canciones a Guiomar and Omaggio a Emilio Vedova, the first (1982) for four women's voices, bass flute, cello and live electronics, the second (1962-3) for soprano, six-voice women's choir and small ensemble, the last (1960) a short, important early tape piece. These are spooky, tense, ethereal works, filled with silences and surging noise; nothing is as solid as is suggested by the instrumentation (which is mostly transformed through real time electronic processing); the women's voices are mostly attenuated, high and diaphanous, or abstracted and distant, and the compositions hang by a thread. These are very substantial works, and significant historical documents. L